Across four decades of writing, Levinas repeatedly referred to the Holocaust as ‘the Passion of Israel at Auschwitz’. This deliberately Christological interpretation of the Holocaust raises questions about the respective roles of Judaism and Christianity in Levinas’ thought and seems at odds with his well-known view that suffering is ‘useless’. Basing my interpretation on the journals Levinas wrote as a prisoner of war and a radio talk he delivered in September 1945, I argue that his philosophical project is best understood (...) as an ontological rendering of Judaism that accounts for the opening or transcendence of sense and intelligibility. Judaism provides Levinas with a salient critique of liberal and idealist philosophies of the subject and an alternative to fundamental ontology. I show how Levinas’ account of the ‘Passion of Israel’ can be read within the exegetical history of Jewish accounts of divine suffering and thereby effects a reversal of the Christian typological gaze. I conclude by suggesting that Levinas’ recourse to Judaism as a philosophical category does not assume a dogmatic origin to philosophy but ‘formally indicates’, in the Heideggerian sense, the phenomenological origins of normativity. In this respect, the ‘Passion of Israel’ involves not only a reversal of the Christian typological gaze but also a deconstruction of Judaism. (shrink)

This article argues that literature is the necessary foil to Emmanuel Levinas’s development of the category of religion, as the site of relation between the same and the other. The essay tracks Levinas’s dependence on literature to illustrate alterity, but also shows that literature functions as religion’s rival in Levinas’s thought. Playing the terms of religion, literature, and philosophy off one another, the article argues, Levinas was also making an interception into a larger post-World War II debate over which of (...) philosophy’s competing discourses, literature or religion, would win the ascendant seat in the post-war context. (shrink)

The release of Emmanuel Levinas’s Prison Notebooks (Carnets de captivité) as a part of the first tome of his collected works has further illuminated the extent of the philosopher’s preoccupation with art, especially literature. Levinas’s own literary efforts have been well documented, but less attention has been paid to the relationship between the Prison Notebooks and Levinas’s early philosophy of art. In this article, I suggest that much of what Levinas has to say apropos art in his early philosophy can (...) be traced back to meditations undertaken in captivity. I will unearth the influence of the Prison Notebooks in three articles from the 1940ʹs “L’autre dans Proust,” “La réalité et son ombre,” and “La transcendance des mots.” I argue that in Levinas’s early philosophy of art follows two distinct “paths”: the path of eros and the path of sensation. On one hand, Levinas questions how and if literature can do justice to the question of alterity, whereas on the other he seeks to make sense of the relationship between art and sensibility. I argue that in his notebooks Levinas offers an account of the meaning of sensations that forms the basis of his early aesthetics. Thus, the study of the Prison Notebooks is important as it allows us to see how Levinas’s early philosophy of art, including his seminal “La réalité et son ombre,” functions as a continuation of a philosophical project already begun during his time in captivity. (shrink)